현대사진영상학회지(The Society of Modern Photography & video) 논문 분류 및 분석에 관한 연구: 1998-2010

김대욱,임상범 현대사진영상학회 2011 현대사진영상학회논문집 Vol.14 No.-

This research analyzed in yearly published quantity, characteristics of the authors, local area, publishing schools, types and themes of the research theses from 133 theses from the first issue of 1988' to 13th issue of 2010 of 'The Society of Modern Photography & video'. This research was done to understand the trend and flow from 133 theses so that it can present the future theses topics and trends. The year 2010 was a memorable year in regards to The Society of Modern Photography & video having its name officially in National Research Foundation of Korea. The Society of Modern Photography & video is viewed as the first photographic society in South Korea starting from 1988. Fifteen theses were published in 1998 and they were taking the lead compared to Aura that was first published in 1994. Now in 2010, The Society of Modern Photography & video's role has been more important than ever as South Korea's second photographic journal. Generally other professional journals have published ten-year-mark theses based upon analyses and statistics on the trends and flows of the journals and theses that had been published during the ten years. These theses look back in time as well as search ways to improve and innovate the future trends. Therefore, this thesis has also looked into analyses and statistics of The Society of Modern Photography & video, that is now ready for another takeoff, so that it can go forward into a more productive and innovative future.

현대사진영상학회지 논문 분류 및 분석에 관한 연구 2011-2022년

김대욱 현대사진영상학회 2023 현대사진영상학회논문집 Vol.26 No.1

This study analyzed all of the papers published by the Korean Society of Contemporary Photography and Video using quantitative data analysis. However, this analysis is limited to only the Korean Society of Contemporary Photography and Video and may not fully represent the trends and content of the entire field of photography. Additionally, because this analysis was based on quantitative data, it may lack specific qualitative research analysis. In future research, conducting qualitative research based on this current state of affairs through focus group interviews may help to reach the essence of this phenomenon. The results of the analysis of the Korean Society of Contemporary Photography and Video show that a significant change occurred from 2008 to 2010, where the focus of the society's journal shifted from the Yeong-nam region to the metropolitan region. This change can be attributed to the decline of the photography field and the disappearance of local universities. Therefore, the transformation from a nationwide-based journal to a metropolitan-based journal is somewhat regrettable. It was expected that the number of papers published would decrease, but it was found to have slightly increased. In other words, the total research volume has increased slightly. Although there is a shortage of researchers, the number of paper publications has increased to some extent. Looking at the overall trends in research topics from 2011 to the present in the Korean Society of Contemporary Photography and Video, the reduction of video papers and the increase of digital papers can be considered the most significant characteristics. In the case of the Korean Society of Contemporary Photography and Video, the reduction in the field of video has some implications. Additionally, the number of digital papers has been decreasing since 2017.

현대사진과 현대미술의 구조적인 관계 연구 - 동시대 사진의 지형을 중심으로 -

김영태,안홍국 현대사진영상학회 2013 현대사진영상학회논문집 Vol.16 No.2

In the early 19th century, the newly invented field of Photography served a practical purpose, but between the 1850s and the 1890s, it became a tool for aesthetic development, as well. During the 19th century, fine art photography absorbed the aesthetics of that period's painting. As a result, there was no distinctive difference in style. From the '10s to the '50s, photography began to acquire a unique aesthetic quality of its own, but even today, photography and painting still co-operate aesthetically. During the 60s and the 70s, modern photography ran headlong into conceptual art, and in an environment characterized by postmodernism, the result has been that the phenomena of pluralism, conceptualization, and individualization have become much more pronounced. The boundary separating photography and art has blurred. Photography has carved out its own place in the centre of contemporary art. After 2000, since digital technology has radically transformed photography,cross-genre started to become a serious force in its own right. This has caused changes in the fundamental photographic conception and aesthetics. This dissertation examines the way in which contemporary photography has changed over the past 30 years, based on its relationship to art. This process is most helpful in understanding the landscape of contemporary photography and photography's future.

젊은 사진가 모임전에 관한 소고

이기명 현대사진영상학회 2000 현대사진영상학회논문집 Vol.3 No.1

미래의 사진영상학계를 준비하며...

강위원 ( Kang Wi Won ) 현대사진영상학회 2002 현대사진영상학회논문집 Vol.5 No.-

히토 슈타이얼과 볼프강 틸만스의 객체적 미학 비교 분석 - 그레이엄 하먼의 객체지향 존재론을 중심으로-

이용환 현대사진영상학회 2025 현대사진영상학회논문집 Vol.28 No.2

본 논문은 객체지향 존재론(Object-Oriented Ontology, OOO)을 바탕으로 히토 슈타이얼(Hito Steyerl)과 볼프강 틸만스(Wolfgang Tillmans)의 작품에 나타난 객체적 미학을 비교 분석한다. 두 작가는 이미지와 사물을 주요 대상으로 삼지만 접근 방식과 태도에서 명확한 차이를 드러낸다. 슈타이얼은 디지털 이미지와 기술-자본주의 간의 관계를 비판적으로 드러내며 이미지를 정치·사회적 맥락에서 적극적으로 활용하는 반면, 틸만스는 사진 매체 자체의 자율적이고 독립적인 실재성을 탐구하며 이미지와 사물의 순수한 존재를 강조한다. 객체지향 존재론을 통해 이들의 작업을 살펴볼 때, 슈타이얼의 작품은 객체가 사회적 관계 속에서 맺는 정치적 긴장을 보여주는 반면, 틸만스의 작품은 객체 자체의 존재론적 깊이와 미학적 자율성을 드러낸다. 두 작가 모두 객체의 철수성(withdrawal), 즉 완전히 포착되지 않는 객체의 숨겨진 본질을 다양한 방식으로 드러낸다는 공통점을 지닌다. 그러나 슈타이얼이 관계 속에서 객체의 비판적 역할을 강조한다면, 틸만스는 객체 자체의 감각적 현존과 자율성을 부각시킨다. 본 연구는 이러한 비교 분석을 통해 객체지향 존재론이 동시대 미학에서 지닌 가능성과 한계를 동시에 탐색하고, 현대예술이 지닌 객체적 존재와 정치성의 의미를 재고찰하는 계기를 제공한다. This study provides a comparative analysis of object-oriented aesthetics in the works of Hito Steyerl and Wolfgang Tillmans through the lens of Graham Harman's Object-Oriented Ontology (OOO). While both artists prominently engage with images and objects, their approaches and attitudes distinctly differ. Steyerl critically reveals the relationship between digital images and techno-capitalism, utilizing images actively within political and social contexts. In contrast, Tillmans emphasizes the autonomous and independent reality of the photographic medium, highlighting the pure presence of images and objects. From an OOO perspective, Steyerl’s work exemplifies the political tensions arising from objects within social relations, whereas Tillmans' art reveals the ontological depth and aesthetic autonomy of objects themselves. Both artists share an interest in the withdrawn essence of objects—an intrinsic aspect of objects never fully accessible or exhausted. However, Steyerl underscores the critical role of objects within relational frameworks, while Tillmans accentuates their sensory immediacy and autonomous existence. This comparative study explores both the potentials and limitations of OOO within contemporary aesthetics, ultimately reconsidering the meaning of objecthood and politics in contemporary art.

현대사진에서의 스냅샷에 대한 의미 분석 1960년대 주요 전시담론의 비교 분석을 통하여

정훈 ( Hoon Jung ) 현대사진영상학회 2017 현대사진영상학회논문집 Vol.20 No.3

Snapshot has a special meaning in contemporary photography. In the 1960s, a new perspective on the ontological characteristics of photography began to appear in a series of photo exhibitions. In this trend, the contemporary meaning of snapshot also began to take shape in the discourse of photo exhibition. “Toward a Social Landscape” by Nathan Lyons was a representative example of a snapshot discourse. Lyons put the meaning of photographic representation in the semantic dynamics of photography with its singular visuality and social environment. He saw snapshot pointing to the perception and thought of the photographer toward the invisible reality. And Lyons considered the snapshot as ‘a authentic picture form,’ the conscious/unconscious awareness of the photographer about society. Above all, his concept of snapshot was consistent with the concept that a photographer captures a photograph as the image of consciousness from his/her perception toward the external world(society). In this system, photographic images always exist in the open semantics.

흐릿한 이미지의 담론 분석: 90년대 이후의 현대사진을 중심으로

손영실 ( Young Sil Sohn ) 현대사진영상학회 2010 현대사진영상학회논문집 Vol.13 No.-

This study has investigated the tendency related to the blurred image in the history of photography and then analyzed the photographic discourse, focusing on the photographic works which shows the blurred image explosively increased after 90`s. This kind of photographic image is not totally new but it has existed continuously in the stream of photographic history, Of course, the use of the blurred image in the early times of history of photography is totally different from the recent tendency. The blur as absence of material in the reality becomes an objective and existing material. If clear photograph threatens to construct the world as unachievable object, blurred photograph makes it possible to establish sensitive intimacy as the expression of emotion which accompany the all perception and appreciate the flow of time and compose the interpretation on it, functioning as a bridge between us and admitting our desire to feel continuous with it. If blurred photograph referred to real time and space, it doesn`t make us so painful but this photograph which appears eliminated of the human trace causes insomnia of dissolution. This is why blurred photograph has been isolated from the public for a long time. Sometime the blur evokes the ambiguous emergence of another world which exists itself and extended to margins, This kind of blur does not stay as the formal effect but as a literary evocation, even though it is weak is related to the reflection on the objective nature. The blur in reality is the absence of the object and as a temporary and untouchable trace, it is related to the illusion and question the representation and reveals the tension between the real and the illusion. In this way, blurred photograph which reveals the changed perception of materiality in according to time shows the division between the past and the real, by exploding the real and the memory and recomposing the uncertain relationship. This study has analyzed the effect of blurred photograph as the development of photographic material, continuation of special time and space, blur focused on the reality and reconstruction of the memory. Actually, each effect is not totally isolated but is interconnected. The preference for blurred image can be the indirect way of convincing the right of emotion and sensation over the idea, The blurred photograph evokes the emotion and sensation as the primary quality of life. By analysis, we can conclude that the blur is not the problem of visuality but that of discourse. And blurred photograph as a text is not fixed to the artist`s intention or a fixed meaning but contributes to the formation of the diverse photographic discourses and at the same time affords to the possibility to think about the work by giving a new position that makes the spectator reflect their own experience-ordinary or artistic.

프로필

학회자료 현대사진영상학회 1998 현대사진영상학회논문집 Vol.1 No.1

현대사진영상학회 10호를 발간하면서…

이동준 현대사진영상학회 2007 현대사진영상학회논문집 Vol.10 No.-